Acknowledgments
This book began in talks about the role and potentials for synchronized sound in motion pictures with my friend and fellow artist, Charles Recher. The final form it has taken would not have been possible without the discussions with my graduate students, especially Dominica Jordan, Noël Anderson, and Matt Van Rys; and my colleagues Min Ho Shin and John Colette. Special thanks go to my brother, John Betancourt, for his assistance with locating many of the title sequences that inform this study.
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